Joking aside -- and the joking almost never stopped -- the focus Saturday evening at Severance Hall was squarely on a certain ivory-tickling, thought-provoking and Oscar-, Grammy- and Emmy-winning maestro.

Newman, 68, launched the latest installment of the orchestra’s Celebrity Series with a thoroughly entertaining concert. The eclectic program surveyed his 50-year career, touching on everything from his 1977 hit “Short People” to his sweeping, larger-than-life cinematic scores.

His oft-overlooked softer side also came to light via a few ballads, including the lovely “Marie.”

Dapper in a tuxedo and eyeglasses with translucent frames, Newman parked himself behind a grand piano and kicked off the proceedings with “Birmingham,” a bluesy postcard from Dixie.

“Love Story” got some of the biggest laughs of the night. In that famously stuffed-up voice of his, seemingly forever poised on the verge of a terrific sneeze, Newman mused:

We’ll have a kidOr maybe we’ll rent oneHe’s got to be straightDon’t want a bent one

He invited the audience to sing along on “I’m Dead,” a hilarious commentary on geriatric rock stars. When Newman crooned the refrain -- “I’m dead but I don’t know it” -- we chimed in: “He’s dead! He’s dead!”

“It doesn’t have to be that enthusiastic,” he chided following a practice run.

Granted, slavery and genocide are no laughing matters. Yet Newman broached those subjects -- to the tune of “Sail Away” and “The Great Nations of Europe,” respectively -- in such a way that you had to laugh. Otherwise, you might cry at the inhumanity underscored by his satirical history lessons.

At the end of “Burn On,” his snarky ode to Cleveland (“city of light, city of magic”) and the infamous 1969 fire on the Cuyahoga River, he said: “I hope all is forgiven.”

Featuring standouts Jung-Min Amy Lee on violin, Jeffrey Rathbun on oboe and Lyle Steelman on trumpet, the orchestra was especially wonderful on the Hollywood fare. Conductor James Feddeck surrendered the podium to a baton-wielding Newman for selections from his scores for “Avalon,” “Maverick,” “The Natural” and “Toy Story.”

“Try your hardest,” he instructed his distinguished charges.

The Western-flavored “Maverick” suite had echoes of Aaron Copland and Elmer Bernstein, but it was the dynamic “Toy Story” suite that really stood out with its rush of emotions and evocation of childlike wonder.

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